"That's when we was makin this video stuff. They went all over the place makin it. And they was wantin to know, at the college, how I got started playin and how do I do everything - you know, all that"
About this Quote
Hasil Adkins talks the way his music sounds: impatient with polish, allergic to permission, alive to the comedy of being taken seriously. The quote catches him mid-memory, when some “college” people orbit his world with cameras and questions, trying to turn a feral, self-made practice into a curriculum. The grammar is the point. “We was makin” and “they was wantin” isn’t just regional texture; it’s a refusal of the gatekeeper’s language, a subtle power move that keeps the storyteller in his own register.
There’s also a sly reversal happening. The institution wants origin stories and method - the safe museum labels of authenticity: How did you start? How do you do it? Adkins answers with a shrugging “you know, all that,” compressing their whole interrogatory into background noise. He’s not dazzled by the attention; he’s bemused by the premise that what he does can be neatly explained. That’s the subtext of outsider art when it collides with documentation: the archive arrives late, hungry, and a little clueless.
Context matters: Adkins was a one-man rockabilly anomaly, recording rough, manic songs far from industry infrastructure. By the time academics show up, the culture has already decided he’s “important,” and now it wants to extract a process, as if intensity were a teachable technique. The quote works because it leaves that extraction incomplete. It keeps the mystery intact, not as mysticism, but as a reminder that some art is built from doing, not narrating.
There’s also a sly reversal happening. The institution wants origin stories and method - the safe museum labels of authenticity: How did you start? How do you do it? Adkins answers with a shrugging “you know, all that,” compressing their whole interrogatory into background noise. He’s not dazzled by the attention; he’s bemused by the premise that what he does can be neatly explained. That’s the subtext of outsider art when it collides with documentation: the archive arrives late, hungry, and a little clueless.
Context matters: Adkins was a one-man rockabilly anomaly, recording rough, manic songs far from industry infrastructure. By the time academics show up, the culture has already decided he’s “important,” and now it wants to extract a process, as if intensity were a teachable technique. The quote works because it leaves that extraction incomplete. It keeps the mystery intact, not as mysticism, but as a reminder that some art is built from doing, not narrating.
Quote Details
| Topic | Music |
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